What colour season are you? The style science behind the clothes that make you look good

Published

2 years ago

May 4, 2024

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Like all good (just about) millennials, my Instagram algorithm knows me better than anyone else.

Who and what do I spend my scroll time with? Dogs, mainly. Celebs in the ’90s, holiday cabins that are all floor-to-ceiling glass and breathtaking views and eyewatering prices. More dogs.

But over the past few months, something else has crept in: bare faces with swatches of different coloured fabric draped across their chests like rainbow napkins, their features brightening or dulling as the bibs are changed with a flourish by a stylist.

Pictures of celebrities with rainbow borders framing their faces fill my feed, sometimes with before and digitally altered “after” images side-by-side, showing how different our favourite stars might look with, say, a slightly warmer blonde tone to their hair, or in a silver dress rather than gold.

Welcome to the world of colour analysis – the science, the stylists say, behind the clothes that make you look good.

Like Avon parties, shoulder pads and blancmange, knowing your colour season was de rigueur in the 1980s, before the 1990s ushered in a more laidback approach, followed by instructions on What Not To Wear and How To Look Good Naked, focusing on body shape, in the noughties.

But colour styling is back.

In the past year or so, the trend has exploded on social media thanks to demand from millennials and Gen Zs who have discovered the power of knowing your season – search for #colouranalysis or #coloranalysis and you’ll find around 300,000 posts on Instagram alone, with similar numbers on TikTok.

Colour stylists say that not only is it a fun way to look at fashion, it’s also sustainable and a cost-saver – the idea being that if you know your colours, you’re not going to waste money on items that don’t optimise your looks.

What is colour styling?

The idea is that every single person’s features can be classified into a set of shades associated with spring, summer, autumn or winter – broken down further into 12 sub-seasons such as “true spring” or “bright winter” – and from this palette you can take guidance on the colours that suit you best, not just for clothing but also for make-up and hair.

Winters look great in jewel tones such as emerald green, or neon brights, while autumns suit the colours you associate with the season – mustard, cinnamon, dark moss green. Springs are warm, bright and clear, summers more soft and subtle. But your season is not just about how you look on the outside, and some might surprise you.

Watching the switching of colour drapes, or scrolling through the digital equivalent, can feel like a magic trick; a glow-up without a hint of highlighter or hair dye. Stylists assure this is #nofilter and there is no digital trickery going on here; the wrong colours will wash you out, but the right colour on the right person could well make your eye bags and wrinkles all but melt away.

Having watched this content from various colour stylists over the past few months, I have learned a lot about seasons, palettes and contrast, and undertone v overtone, warm v cool, clear v muted. I have learned that you might share the same eye, skin and natural hair colour as someone else and still be in a different season. That your colour season is not about skin colour or even tone.

And that, apparently, despite black being a go-to or a comfort blanket for many, it’s only – brace yourselves – those in the winter palette who truly suit it.

So now, in the interest of journalism, I’m finding out for myself.

Anyone who knows me will know my wardrobe is on the brighter side. I think I’m a spring. I hope I’m a spring. Am I a spring?

Have I been wearing the ‘wrong’ colours all my life?

I have my colours done by Francesca Cairns, a UK stylist of 10 years who says she has seen her Instagram following grow from about 10,000 to 500,000 across two accounts in the past 12 months or so, all thanks to colour analysis.

“It’s boomed, especially in the last year,” she says. “Gen Z want to learn about what works for them so they can create wardrobes that are sustainable. People are obsessed with it, it’s everywhere.”

Francesca works online, with clients internationally as well as in the UK, so needs photos. No make-up, natural lighting, standing in front of a window. I take about a million selfies before I find a couple that are vaguely passable and send them over, along with older pictures of myself over the years and some information: natural hair colour, (dark blonde/ mousey), eye colour (grey-green, a bit non-descript), how easily I tan (not bad) and my jewellery preference (silver; but, if I’m honest, this could well be a legacy from my frugal youth).

Rather than draping with material in person, she surrounds your face with colour digitally, the style equivalent of Tinder, swiping yes on the shades that work, relegating the ones that don’t, to see a pattern.

It’s mainly about undertone – not skin colour (overtone), she says. The tricky thing? You can’t necessarily see it.

“When I look at someone, I’m putting silver and gold next to them, or very warm versus cool colours,” Francesca says. “I’m seeing which looks best next to their features, which one’s not overpowering them.”

The aim of wearing your best colours is to see your face first, before everything else, she says. The right colour will enhance your features, bring out your eyes. “You don’t want a dress to wear you,” Francesca says. “When you walk into a room, you want people to see your face and your features before your outfit. You want it to all be in harmony rather than overpowering you.”

Her process usually takes 48 hours, but Francesca has my results over to me the next day.

I am, it seems, not a spring.

According to Francesca’s workings, I am a soft summer, just like Rihanna, Sarah Jessica Parker and Rachel McAdams. I have a neutral undertone which leans cool, she tells me, with muted and soft colouring, subtle rather than high contrast. Baby blue, pine green, lavender, sage and taupe are on the list of recommended clothing colours, while ash brown and cool blonde are suggested for my hair (not too far off, but my highlights are probably on the warmer side).

I do own a fair bit of light blue denim, which is good, but I’m looking at all the bright greens, oranges and pinks in my wardrobe. This isn’t about my favourites, though, it’s about the ones that harmonise with my features best.

“It’s colour science,” Francesca says. “If someone’s got a warm undertone, nine out of 10 times they’re probably going to be in the spring or autumn seasons because they look better with a lot of warm tones most of the time. But if you’re neutral, you can border both the seasons.” As I’m neutral, she says some of the spring colours would work – but winter is too high contrast and cool-toned.

Someone with a high contrast – pale skin, dark hair, bright eyes, for example – can pull off high contrast colours such as cobalt blue and fuchsia pink. “But they might overpower someone who’s got softer features,” she says.

Celebs in – and out – of season

It’s important to note that colour analysts don’t always agree. Some put Margot Robbie as a summer, for example, while others, including Francesca, say she’s a spring. Some say you have to do the analysis in person to be certain, while others say photos taken in the right conditions are enough.

I take an online colour quiz for a second opinion and it puts me as a spring, but this is without photographic evidence; I can’t help but think the result is probably something to do with the questions being mainly about the colours I’m drawn to and how I see myself.

Francesca is confident in my summer analysis, but says I can lean into the spring palette. And this isn’t about throwing away an entire wardrobe, but potentially making tweaks.

“Colour analysis isn’t about restriction,” she says. “I’m an autumn. People ask me all the time if I still wear black? Yes, because 90% of my wardrobe before I did this was black. I’ll always wear black, but I’ll make it work for me better by wearing my make-up in my colours, or accessories round my face, wear black lower down or with a lower neckline.

“If you love a colour that’s not in your season it doesn’t mean you can’t wear it, it just means that you wear your colours with it or make it work for you in a different way. And when I post celebrities against different [background] colours, it can be quite subjective.”

Because being groomed and beautiful means stars often look good against all sorts of different shades.

“People might prefer them in a different [colour to their season] and that’s their opinion. But when it comes down to the trained eye and you know what you’re looking for, you see straight away why one palette works better than another.”

Kim Kardashian (winter), Kate Middleton (summer) and Hailey Bieber (autumn) are celebrities you will usually find wearing their colour palettes, she says.

But wearing colours out of your season can pack a punch – think Taylor Swift‘s platinum white hair and dark lipstick look during the height of the Kim and Kanye feud in 2016, or Beyonce‘s current platinum look for the release of Cowboy Carter. Swift is a spring, apparently, while Beyonce is autumn.

“But I’m always training my eye, even now after years,” says Francesca. “You’ll always find that someone’s colours will always surprise you. And there’s no rule book – it’s all about having fun.”

Entertainment

The Stone Roses bassist Gary ‘Mani’ Mounfield dies aged 63

Published

20 hours ago

November 20, 2025

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The Stone Roses bassist Gary 'Mani' Mounfield dies aged 63

The Stone Roses bassist Gary “Mani” Mounfield has died at the age of 63, his family has said.

Mani’s brother, Greg, said in a post on Facebook: “It is with the heaviest of hearts that I have to announce the sad passing of my brother.”

“RIP RKID,” he added.

Formed in 1983, The Stone Roses were a mainstay of the “Madchester” scene.

Mani joined the band in 1987 and formed part of its classic line-up alongside singer Ian Brown, guitarist John Squire and drummer Alan ‘Reni’ Wren. He remained with the group until their split in 1996.

Mani’s death comes two years after that of his wife, Imelda Mounfield, who was diagnosed with stage 4 bowel cancer in November 2020. The couple welcomed twin boys in 2012.

The Stone Roses frontman Brown shared a tribute online, writing: “REST IN PEACE MANi X.”

Oasis singer Liam Gallagher said he was “in total shock and absolutely devastated”, describing the bassist as “my hero”.

“RIP Mani – my heartfelt condolences to his twin boys and all of his family,” wrote the Happy Mondays’ Shaun Ryder, whose bandmate Rowetta added: “Back with your Imelda, Mani. Going to miss you so much. All my love to the boys, the family & all those who knew & loved him.”

The Charlatans frontman, Tim Burgess, shared a photo of himself with Mani, writing alongside it: “I shared this photo a week or so ago on Mani’s birthday.

“It never failed to bring a smile to my face – and that was exactly the same for the man himself.

“One of the absolute best in every way – such a beautiful friend.”

Echo & the Bunnymen vocalist Ian McCulloch said Mani was someone “who I have always loved and always will love, deeply and forever. Like a brother”.

He continued: “I am in shock to be honest. Please tell me I’m just having a bad, bad dream. My thoughts and feelings and Mani. Love to all of his family from me”.

The “Madchester” bands were known for blending indie with acid house, psychedelia, and pop.

The Stone Roses’ eponymous debut album of 1989 was a huge success, and was named the second greatest album of all time in a “Music of the Millennium” poll conducted by HMV, Channel 4, The Guardian, and Classic FM.

Entertainment

Half of novelists fear AI will replace them entirely, survey finds

Published

1 day ago

November 20, 2025

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Half of novelists fear AI will replace them entirely, survey finds

The novel has survived the industrial revolution, radio, television, and the internet. Now it’s facing artificial intelligence – and novelists are worried.

Half (51%) fear that they will be replaced by AI entirely, according to a new survey, even though for the most part they don’t use the technology themselves.

More immediately, 85% say they think their future income will be negatively impacted by AI, and 39% claim their finances have already taken a hit.

Tracy Chevalier, the bestselling author of Girl With A Pearl Earring and The Glassmaker, shares that concern.

“I worry that a book industry driven mainly by profit will be tempted to use AI more and more to generate books,” she said in response to the survey.

“If it is cheaper to produce novels using AI (no advance or royalties to pay to authors, quicker production, retainment of copyright), publishers will almost inevitably choose to publish them.

“And if they are priced cheaper than ‘human made’ books, readers are likely to buy them, the way we buy machine-made jumpers rather than the more expensive hand-knitted ones.”

Why authors are so worried

The University of Cambridge’s Minderoo Centre for Technology and Democracy asked 258 published novelists and 74 industry insiders how AI is viewed and used in the world of British fiction.

Alongside existential fears about the wholesale replacement of the novel, many authors reported a loss of income from AI, which they attributed to “competition from AI-generated books and the loss of jobs which provide supplementary streams of income, such as copywriting”.

Some respondents reported finding “rip-off AI-generated imitations” of their own books, as well books “written under their name which they haven’t produced”.

Last year, the Authors Guild warned that “the growing access to AI is driving a new surge of low-quality sham ‘books’ on Amazon”, which has limited the number of publications per day on its Kindle self-publishing platform to combat the influx of AI-generated books.

The median income for a novelist is currently £7,000 and many make ends meet by doing related work, such as audiobook narration, copywriting or ghost-writing.

These tasks, authors feared, were already being supplanted by AI, although little evidence was provided for this claim, which was not possible to verify independently.

Copyright was also a big concern, with 59% of novelists reporting that they knew their work had been used to train AI models.

Of these, 99% said they did not give permission and 100% said they were not remunerated for this use.

Earlier this year, AI firm Anthropic agreed to pay authors $1.5bn (£1.2bn) to settle a lawsuit which claimed the company stole their work.

The judge in the US court case ruled that Anthropic had downloaded more than seven million digital copies of books it “knew had been pirated” and ordered the firm to pay authors compensation.

However, the judge sided with Anthropic over the question of copyright, saying that the AI model was doing something akin to when a human reads a book to inspire new work, rather than simply copying.

Most novelists – 67% – never used it for creative work, although a few said they found it very useful for speeding up drafting or editing.

One case study featured in the report is Lizbeth Crawford, a novelist in multiple genres, including fantasy and romance. She describes working with AI as a writing partner, using it to spot plot holes and trim adjectives.

“Lizbeth used to write about one novel per year, but now she can do three per year, and her target is five,” notes the author of the report, Dr Clementine Collett.

Is there a role for government?

Despite this, the report’s foreword urges the government to slow down the spread of AI by strengthening copyright law to protect authors and other creatives.

The government has proposed making an exception to UK copyright law for “text and data mining”, which might make authors and other copyright holders opt out to stop their work being used to train AI models.

“That approach prioritises access to data for the world’s technology companies at the cost to the UK’s own creative industries,” writes Professor Gina Neff, executive director of the Minderoo Centre for Technology and Democracy.

“It is both bad economics and a betrayal of the very cultural assets of British soft power.”

A government spokesperson said: “Throughout this process we have, and always will, put the interests of the UK’s citizens and businesses first.

“We’ve always been clear on the need to work with both the creative industries and AI sector to drive AI innovation and ensure robust protections for creators.

“We are bringing together both British and global companies, alongside voices beyond the AI and creative sectors, to ensure we can capture the broadest possible range of expert views as we consider next steps.”

Entertainment

Princess of Wales says her children were ‘very sad’ to miss Paddington at Royal Variety Performance

Published

1 day ago

November 20, 2025

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Princess of Wales says her children were 'very sad' to miss Paddington at Royal Variety Performance

The Princess of Wales has admitted her children were “very sad” to miss the Royal Variety Performance in London, which she and the Prince of Wales attended.

Prince William and Kate made their first appearance at the event since her recovery from cancer.

Wednesday’s red carpet show at the Royal Albert Hall was headlined by the cast of Paddington The Musical.

After arriving and being presented with posies by nine-year-old twins Emelia and Olivia Edwards, the family of staff at a care home for entertainment industry workers, Kate asked if they were fans of Paddington Bear.

The princess, wearing a green velvet gown, then told the girls that her children were “very sad” not to attend the show and added she had to tell them children were not allowed to go.

“My kiddies were very sad, we’re going to have to keep it a big secret that I saw you guys,” she said.

“They were very sad not to be joining us.”

It is the sixth time William and Kate have attended the annual charity event.

When Olivia told the prince, wearing a tuxedo, her favourite singer was Billie Eilish, he replied she had good taste.

He said: “It’s very nice to see you both. You’re very smiley, you two.”

The royals were also greeted on the red carpet by ITV board members and representatives from the Royal Variety Charity, of which the King is the royal patron.

The Paddington cast were set to take to the stage on Wednesday evening, while pop star Jessie J and Grammy award-winning singer Laufey were also expected to perform.

Held annually, the Royal Variety Performance was first staged in 1912 for King George V and Queen Mary in support of the charity, which helps those working in the entertainment industry.

Ahead of the show, its executive producer Giles Cooper said the charity was “thrilled” the prince and princess would “once again attend the Royal Variety Performance”.

Mr Cooper, also chairman of the charity, added: “This annual great British institution, viewed by a worldwide TV audience of over 150 million, continues to be a crucial fundraising event supporting people in all areas of performance, either on or off stage.

“In this pressurised world of working in the entertainment industry, our mental health initiative, started in 2024, has been a lifeline for many who are experiencing issues such as anxiety, depression or addiction.”

On Tuesday, the princess called on businesses to value “time and tenderness just as much as productivity and success” in her first speech since she was diagnosed with cancer at the start of 2024.

Speaking at the Future Workforce Summit, Kate told 80 business leaders: “Every one of you interacts with your own environment; a home, a family, a business, a workforce, a community.

“These are the ecosystems that you yourselves help to weave. Imagine a world where each of these environments were built on valuing time and tenderness just as much as productivity and success.

“As business leaders, you will face the daily challenge of finding the balance between profitability and having a positive impact. But the two are not, and should not be incompatible.”